┌───────────────────────────────────────────────────────────────────┐ │■ ■│ │ .-/ .-. │ │ _.-~ / ___ | ~-._ │ │ \:/ -~| / __/| .\:/ │ │ / || (:/:| \ │ │ / /\/| |:\___\| |\ \ │ │ / /:::|.::/:::/:.|:\ \ │ │ / /:::/ \\/:::/::/:::\ \ │ │ / .::\ \-~~~~-/\/:.. \ │ │ /..:::::\ /:::::..\ │ │ /::::::::- -::::::::\ │ │ \:::::-~ ~-:::::/ │ │ \:-~ ~-:/ │ │ METAL CLASSICS ARCHIVE │ │ │ │ │ │ │ │ P R E S E N T S │ │ │ │ │ │ + Iron Maiden - The Number Of The Beast + │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Information ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Release Date.Apr-22-2006 Encoder......LAME 3.90 Modified ║ │ │║ Genre........Heavy Metal Graber.......EAC ║ │ │║ Year.........1982 Khz/Bitrate..44,1/ Br ║ │ │║ ║ │ │║ Ripper.......rainbow Songs........cd1: 8 cd2: 2 ║ │ │║ Covers.......Yes Url... www.ironmaiden.com ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Notes ║ │ │╠═════════════════════╩══════════════════════════════════════════╗ │ │║ ║ │ │║ Artist : Iron Maiden Rating : You Decide! ║ │ │║ Album : The Number Of The Beast Label : EMI ║ │ │║ ║ │ │║ ║ │ │╠════════════════════════════════════════════════════════════════╣ │ │║ ║ │ │║ Description : ║ │ │║ ║ │ │║ If you asked the average metalhead to name the ║ │ │║ landmark releases in metal history, chances are, ║ │ │║ Iron Maiden's "The Number of the Beast" would ║ │ │║ make the list. Of course, the average metalhead ║ │ │║ would be hard pressed to come up with a room ║ │ │║ temperature IQ at the North Pole, so we would ║ │ │║ probably do better better to ignore such ║ │ │║ opinions. In truth, "The Number of the Beast" ║ │ │║ marked Iron Maiden's descent into self-parody, a ║ │ │║ trend that would only get worse with each ║ │ │║ subsequent album. Even the addition of the ║ │ │║ incomparable Bruce Dickinson on lead vocals is ║ │ │║ not enough to cover up the album's glaring ║ │ │║ flaws. ║ │ │║ ║ │ │║ "The Number of the Beast" is the first Maiden ║ │ │║ album to display Steve Harris' mature writing ║ │ │║ style, and by "mature" I mean this is the first ║ │ │║ album where Steve figured out he didn't actually ║ │ │║ have to write new songs to impress his brain ║ │ │║ dead fanbase. Accordingly, "The Number of the ║ │ │║ Beast" consists of "Hallowed be Thy Name," "22 ║ │ │║ Acacia Avenue" and one other song repeated seven ║ │ │║ times. While it is true that the former remains ║ │ │║ one of the more brilliant pieces of songwriting ║ │ │║ to emerge from the NWOBHM movement it in no way ║ │ │║ compensates for the miserable quality of the ║ │ │║ rest of the album. It is a tribute to the ║ │ │║ greatness of Bruce Dickinson that he is able to ║ │ │║ rise above such mediocre material to lend a ║ │ │║ certain anthemic urgency to otherwise DOA songs ║ │ │║ like "Run to the Hills" and "Invaders," but even ║ │ │║ he can's save absolute dreck like the unbearably ║ │ │║ cheesy title track. ║ │ │║ ║ │ │║ "The Number of the Beast" is also notable for ║ │ │║ its introduction of a basic approach to mixing ║ │ │║ and production that would help sap the life from ║ │ │║ the band's music for the next two decades. The ║ │ │║ vocals are pulled forward (good idea, as ║ │ │║ Dickinson was clearly the best thing the band ║ │ │║ had going from them), but so is the bass. The ║ │ │║ latter is annoyingly up front, for reasons that ║ │ │║ probably have to do with Steve Harris' massive ║ │ │║ (and largely unearned) ego. That this ║ │ │║ self-indulgence comes at the expense of an ║ │ │║ adequate guitar sound is unforgivable, and it is ║ │ │║ a clear sign of just who was responsible for ║ │ │║ turning Iron Maiden into the most boring and ║ │ │║ predictable band in heavy metal. ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ When Paul Di'anno was handed the pink slip in ║ │ │║ 1981 due to his questionable lifestyle, many ║ │ │║ Maiden fans wondered whether or not the band ║ │ │║ would be able to successfully soldier on. As we ║ │ │║ all know, their fears were allayed when Bruce ║ │ │║ Dickinson was selected to take on vocal duties. ║ │ │║ The band not only survived--they flourished. ║ │ │║ Dickinson's powerful and evocative delivery ║ │ │║ afforded bassist and key songwriter Steve Harris ║ │ │║ a larger window for creative songwriting. The ║ │ │║ rest of the world was not slow to pick up on ║ │ │║ this, as the album shot straight up to #1 on the ║ │ │║ charts in their native England while the band ║ │ │║ found themselves embarking on their maiden (pun ║ │ │║ intended) stateside tour. As hinted at in the ║ │ │║ title, the band's third volume still packs a ║ │ │║ wallop, despite having been released over two ║ │ │║ decades ago. I can't begin to imagine what ║ │ │║ people thought of this back in 1982. ║ │ │║ ║ │ │║ Things kick off with the fast and furious ║ │ │║ "Invaders", an account of Viking conquests. ║ │ │║ Proto-speed metal is the name of the game here. ║ │ │║ After hearing ten to fifteen seconds worth of ║ │ │║ Bruce's wails, it is clear that he was a vital ║ │ │║ ingredient in the band's metamorphosis from a ║ │ │║ promising NWOBHM outfit into a worldwide ║ │ │║ phenomenon. Despite a fractured chorus, the ║ │ │║ track does a decent job of setting the tone for ║ │ │║ the rest of album. The second song, "Children of ║ │ │║ the Damned", begins with a soft, down-tempo ║ │ │║ intro, to which "Fade to Black" owes quite a ║ │ │║ bit. In my estimation, this song, more than any ║ │ │║ of the others on the disc, harkens back to the ║ │ │║ Di'anno days. After some impassioned, melodic ║ │ │║ vocals from Bruce, the song picks up the pace, ║ │ │║ and the listener is treated to a rapid-fire ║ │ │║ solo. Track number three is entitled the "The ║ │ │║ Prisoner" and begins with a clip of the intro ║ │ │║ from the old television program of the same ║ │ │║ name, followed by some nice groovy percussion ║ │ │║ work from now-erstwhile Clive Burr. Not to sound ║ │ │║ nit-picky, but this song has a more commercial ║ │ │║ flair than anything that Maiden had came up with ║ │ │║ thus far; the chorus is decidedly catchy and ║ │ │║ justs screams 'sing-a-long'. Of particular note ║ │ │║ is Harris's four-string work, pointing to Geddy ║ │ │║ Lee influences. ║ │ │║ ║ │ │║ Up next is "22 Acacia Avenue", one of the band's ║ │ │║ more progressive compositions. The sequel to the ║ │ │║ eponymous debut's "Charlotte the Harlot", it is ║ │ │║ also a considerable improvement. Bruce's ║ │ │║ delivery borders on raunchy at certain moments, ║ │ │║ but that is precisely what this tune calls for. ║ │ │║ There exist a multitude of mood and tempo ║ │ │║ shifts, bolstering the song's replay value. ║ │ │║ After the conclusion of this 6 1/2-minute metal ║ │ │║ triumph, there follows the song that enveloped ║ │ │║ the band in controversy. Religious figureheads ║ │ │║ (known as crackpots by us thinking individuals) ║ │ │║ wrongfully accused Maiden of Satan worship, ║ │ │║ pointing their fingers at the title track. ║ │ │║ Things commence calmly enough with a Vincent ║ │ │║ Price-esque spoken word section taken from the ║ │ │║ book of Revelations, but shortly after the 1:15 ║ │ │║ mark, Bruce lets loose with a scream that would ║ │ │║ rip Roger Daltrey a new one. The chorus was ║ │ │║ definitely designed with audience participation ║ │ │║ in mind, and the song has been a mainstay of the ║ │ │║ band's setlist to this day. Two back-to-back ║ │ │║ solos, by Dave and Adrian respectively, round ║ │ │║ out this classic. Maiden's best-known song "Run ║ │ │║ to the Hills" calls this album home, and also ║ │ │║ has yet to be discarded from live performances. ║ │ │║ It may be cheesy and radio-friendly, but few ║ │ │║ things get a crowd pumped up at a Maiden gig ║ │ │║ more than this fun little number and that ║ │ │║ instantly-recognizable drum intro. ║ │ │║ ║ │ │║ Whenever a Maiden fan is asked to pick out the ║ │ │║ weakest link from this album, the majority of ║ │ │║ replies will be the seventh track, "Gangland". I ║ │ │║ cannot bring myself to disagree with this ║ │ │║ viewpoint, but the song does not suck or ║ │ │║ constitute filler by any means. The riffing is ║ │ │║ relentless and Bruce is in total command here. A ║ │ │║ noteworthy fact is that Harris does not have a ║ │ │║ writing credit here; this fun little number was ║ │ │║ the brainchild of Smith and Burr. "Total ║ │ │║ Eclipse" was not originally found on the ║ │ │║ original album, but existed as a B-side. The ║ │ │║ lyrics revolve around the topic of nuclear ║ │ │║ holocaust, with an apocalyptic-sounding riff ║ │ │║ accentuating the verses nicely. It is ║ │ │║ unquestionably a solid track, but the band have ║ │ │║ saved the best for last. If ever a heavy metal ║ │ │║ nation was founded, "Hallowed Be Thy Name" would ║ │ │║ doubtlessly be its national anthem. Starting off ║ │ │║ quietly with some clean guitar and tolling ║ │ │║ bells, Bruce lucidly paints a picture of man ║ │ │║ reflecting on his last few hours of living. ║ │ │║ After about a minute in, the killer riffs begin, ║ │ │║ quickly joined by Dickinson's fiery wails. Two ║ │ │║ inspired guitar bridges give the listener a ║ │ │║ chance to catch a breath before the next verse ║ │ │║ kicks in. The final lines before the guitar ║ │ │║ histrionics begin are some of my favorites not ║ │ │║ just in Maiden's catalogue, but in all of metal, ║ │ │║ period. How can one NOT get a jolt from hearing ║ │ │║ "When you know that your time is close at ║ │ │║ hand/Maybe then, you'll begin to understand/Life ║ │ │║ down here is just a strange illusion."? A grand ║ │ │║ finale in every sense of the phrase. ║ │ │║ ║ │ │║ In spite of all the accolades I've heaped upon ║ │ │║ the album, I firmly believe that it still plays ║ │ │║ second-fiddle to 'Powerslave'. By the time that ║ │ │║ particular album was released, Maiden had honed ║ │ │║ their craft to a razor-edge and all but had the ║ │ │║ metal world's balls in a vise grip. That in no ║ │ │║ way detracts from 'Number', though. It is still ║ │ │║ a high pick for the foundation of a metal music ║ │ │║ collection, and not a half-bad album for rock ║ │ │║ fans to pick up, too. ║ │ │║ ║ │ │║ ║ │ │║ Well this is the breakthrough that Iron Maiden ║ │ │║ had been building up to, and of course their ║ │ │║ most well known album. With this they made rock ║ │ │║ history, but being me I'm not quite convinced ║ │ │║ that this is their greatest achievement. It's ║ │ │║ altogether perhaps a little overrated and my ║ │ │║ least favourite of the 80s Maiden studio albums, ║ │ │║ but that doesn't mean it's a bad album! The ║ │ │║ first album with Bruce Dickinson, to me the ║ │ │║ definitive Maiden vocalist and when all the ║ │ │║ pieces fit completely into place. Not to ║ │ │║ discredit Paul Di'Anno, who complemented the ║ │ │║ rawer sound of the first two albums very well, ║ │ │║ both of which are slightly a notch above this. ║ │ │║ ║ │ │║ An album opener has always been a very important ║ │ │║ aspect of the band, often a fast number with ║ │ │║ plenty of punch to it, which is what "Invaders" ║ │ │║ delivers. Not often regarded as a classic in the ║ │ │║ same vein as "Aces High" or "Moonchild", it is ║ │ │║ nonetheless brutally sure of itself and its ║ │ │║ goal. "Children of the Damned" follows on as a ║ │ │║ nicely more epic song with an effective change ║ │ │║ of pace. It has an altogether subtly solemn feel ║ │ │║ with a darker atmosphere creeping in. Classic ║ │ │║ Maiden energy ensues out of an intro from ║ │ │║ classic 60s TV show "The Prisoner". It's another ║ │ │║ racey song complete with guitar harmonies that ║ │ │║ point towards future albums, anthemic chorus and ║ │ │║ sing-a-long structure. The album deepens itself ║ │ │║ now twisting and turning through the complex "22 ║ │ │║ Acacia Avenue", with its multiple time changes ║ │ │║ and effective ups and downs of mood. This is one ║ │ │║ of the definite winners on this album. ║ │ │║ ║ │ │║ The title track, also a single and one of the ║ │ │║ album's videos, is a classic song, a straight up ║ │ │║ display of typical Iron Maiden. It's not the ║ │ │║ most intensively massive or ambitious song on ║ │ │║ here, but it's got fun riffs and solid ║ │ │║ structure. ║ │ │║ "Run to the Hills" has to be the most well known ║ │ │║ song on this album, and probably Maiden's most ║ │ │║ well known song period. It like the previous ║ │ │║ song, displays aspects typical to the band, with ║ │ │║ a perfect example of the galloping riffs clearly ║ │ │║ up front here. It is however probably the most ║ │ │║ overplayed song in their entire discography ║ │ │║ which makes it hard to listen to when you've ║ │ │║ already heard it a million and one times. A ║ │ │║ cracking drum intro misleads and I once again ║ │ │║ step into "Gangland" aware of the plunge the ║ │ │║ song is going to take, I suppose the chorus has ║ │ │║ some appeal but I find this one a little dull ║ │ │║ and uneventful. I also don't care for the B-side ║ │ │║ now turned album track (on the enhanced ║ │ │║ remastered version), but it has a nice memorable ║ │ │║ mid section but is still kept down for most of ║ │ │║ the way through. ║ │ │║ ║ │ │║ The best is however yet to come, and "Hallowed ║ │ │║ be thy Name" is another Harris penned epic ║ │ │║ wonder. A worthy successor to "Phantom of the ║ │ │║ Opera", the atmosphere is spot on for the theme ║ │ │║ of the convicted criminal waiting for his ║ │ │║ imminent execution. Mournful but unrepentant, ║ │ │║ and another unique "epic" in the string of ║ │ │║ successful tracks which would become the norm ║ │ │║ for each 80s studio album after this. I can't ║ │ │║ say that this album is entirely consistent all ║ │ │║ the way through, there are a few tracks I just ║ │ │║ don't really listen to much anymore when I play ║ │ │║ this. And the two albums before it both had a ║ │ │║ greater quality present and something which this ║ │ │║ album misses. The albums after also have a much ║ │ │║ greater volume of consistent and exciting ║ │ │║ material. But on its own this has a lot to ║ │ │║ admire and it's a worthwhile investement. ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ As a spotty little geek in 1983, I knew nothing ║ │ │║ of really good music until I scored this album ║ │ │║ for the hell of it when out with my Dad one day ║ │ │║ in downtown Boston. Ohh, am I glad I did that! ║ │ │║ This was my first exposure to the mighty Maiden, ║ │ │║ and I am so happy it was this LP (bought it on ║ │ │║ VINYL, babaay!!!!) with all the greatest songs ║ │ │║ of theirs in one package second only to the ║ │ │║ followup, my alltime fave of theirs, "Piece of ║ │ │║ Mind".s ║ │ │║ ║ │ │║ "Invaders" is an archetypal fast galloper with ║ │ │║ Bruce's vocals taking charge straight away in ║ │ │║ authoritative fashion--his high pitched wailing ║ │ │║ is electrifying as he lays down the tale of ║ │ │║ Viking invaders to a British village doing what ║ │ │║ they did best (kick ass and take names, if you ║ │ │║ didn't already know). Paul Di'Anno was/is an ║ │ │║ excellent vocalist in his own right, but even HE ║ │ │║ admits that Bruce Effin Dickinson is the Voice ║ │ │║ of Iron Maiden! ║ │ │║ ║ │ │║ "Children of the Damned"...god, what a pretty ║ │ │║ intro and sad verses. Bruce shows his ║ │ │║ versatility by singing softly and with lots of ║ │ │║ bluesy emotion ("I make too much money to sing ║ │ │║ the blues!" he jokingly said one time, but this ║ │ │║ proves him wrong!) and of course the song ║ │ │║ explodes into a faster beat with the trademark ║ │ │║ twin axe harmonies establishing themselves as a ║ │ │║ round of fierce soloing rears its head and Steve ║ │ │║ goes bananas on the bass as per usual. He was ║ │ │║ the first bassist I ever heard to do more than ║ │ │║ play quarter notes on the bass' E string and ║ │ │║ nothing but as most players did back then, and ║ │ │║ all throughout this album he kicks heaping piles ║ │ │║ of ass. ║ │ │║ ║ │ │║ "22 Acacia Avenue": Another quiet intro leading ║ │ │║ into a faster verse and the riffs just keep ║ │ │║ coming! More excellent soloing at the end of ║ │ │║ this tune--hell, Dave and H play their arses off ║ │ │║ on this album on each and every song with their ║ │ │║ agressive British blues-based leads and singing ║ │ │║ tones.s ║ │ │║ ║ │ │║ "The Prisoner": The intro for this tune is the ║ │ │║ story of my life! I love the chorus on this ║ │ │║ song, as it sums up how I want to live my life: ║ │ │║ "Not a prisoner, I'm a free man/And my blood is ║ │ │║ my own now/Don't care what the past was/I know ║ │ │║ where I'm going...out!!!/Not a number, I'm a ║ │ │║ free man/Live my life how I want to/You'd better ║ │ │║ scratch me from your black book/Cos I'll run ║ │ │║ rings around you!" The guitar riff in the middle ║ │ │║ part before the solo section kicks in is one of ║ │ │║ my faves on this album. ║ │ │║ ║ │ │║ "The Number of the Beast": Oh, hell yes! The ║ │ │║ most covered and one of the most influential ║ │ │║ songs in metal, EVER. What more can be said? ║ │ │║ This song has it all; eerie intro building to ║ │ │║ blood-freezing scream from hell, syncopated ║ │ │║ verses and catchy chorus, killer solo section, ║ │ │║ slamming ending...nuff sed! ║ │ │║ ║ │ │║ "Run To The Hills": Catchy and melodic, another ║ │ │║ classic Maiden galloper that Steve Harris simply ║ │ │║ owns. Especially the insanely fast lick he ║ │ │║ doubles with the guitar right after the ║ │ │║ (positively sublime) solo section--and he is a ║ │ │║ fingerstyle player through and through. GREAT ║ │ │║ chorus and that howl Bruce lets out at the end ║ │ │║ that sloowly rises higher...and higher...and ║ │ │║ HIGHER until it's an inhuman banshee shriek that ║ │ │║ will stop you in your tracks and sear your soul ║ │ │║ a la Tom Araya's opening scream in "Angel of ║ │ │║ Death"! ║ │ │║ ║ │ │║ "Gangland": I actually rather like this tune, ║ │ │║ for its catchy chorus ("Dead men, tell no ║ │ │║ tales/Gangland, murder's up for sale/Dead men, ║ │ │║ tell no tales/Gangland, where the jailbirds ║ │ │║ die!") and the way he slams out that last high ║ │ │║ note on the second go-round of the chorus is ║ │ │║ intense! Short and sweet, and a solo that leaves ║ │ │║ you wanting more with its brevity. "Shadows, may ║ │ │║ hide you, but also be your grave!" ║ │ │║ ║ │ │║ "Hallowed Be Thy Name": Oooohhhh...sheer ║ │ │║ orgasmic metal bliss! One of the greatest epics ║ │ │║ from the pen of Messr. Harris of East London ║ │ │║ ever written, and it takes you on a journey that ║ │ │║ never seems to end, from a quiet, moody ║ │ │║ beginning to its dual-harmony guitar-laden ║ │ │║ between verse riffs, an ultra-dramatic delivery ║ │ │║ in said verses, and the best solo section on the ║ │ │║ album in my opinion that leads into one of the ║ │ │║ trickiest guitar parts on the album, right into ║ │ │║ "YEEEAAAHHH, YEEAAAHHH, YEAHHHH!!! HAA-LOOOOWED ║ │ │║ BE THY NAAAAMME!!!" at the end and more ║ │ │║ beautiful harmonies lead out to the ending of ║ │ │║ one of the greatest classic metal tunes ever ║ │ │║ written. ║ │ │║ ║ │ │║ "Stay Metal" is the saying that this album has ║ │ │║ written all over its grooves, and that has been ║ │ │║ engraved on my cerebral cortex ever since that ║ │ │║ fateful day. in the fall of 1983. No more need ║ │ │║ be said. ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ Maidens classic album, Number Of The Beast is ║ │ │║ absolutely amazing, only stopping short of 100% ║ │ │║ in my opinion because Hallowed Be Thy Name and ║ │ │║ 22 Acacia Avenue fail to capture in the studio ║ │ │║ the greatness of these 2 songs live, but ║ │ │║ otherwise The Number Of The Beast is perfect in ║ │ │║ every way. ║ │ │║ ║ │ │║ Invaders: A great intro song, Invaders is very ║ │ │║ rock and roll. The lyrics are about a Viking ║ │ │║ attack on a coastal village somewhere in ║ │ │║ Britain, from the sighting of Longboats to the ║ │ │║ escape of the survivors. The song is addictive, ║ │ │║ and will stay in your head for ages. ║ │ │║ ║ │ │║ Children Of The Damned: Based on a 1963 film ║ │ │║ about 6 children with psychic powers who are ║ │ │║ eventually killed by the army in fear, the ║ │ │║ particular part the song illustrates is the ║ │ │║ death of the last child who is burned at the ║ │ │║ stake. The faster part (Now it's burning his ║ │ │║ hands- He's dust on the ground) is probably the ║ │ │║ darkest part of the album. The song is a very ║ │ │║ moody and thought provoking experience, and a ║ │ │║ great credit to Maiden. ║ │ │║ ║ │ │║ The Prisoner: Opening with a quote from the TV ║ │ │║ series, The Prisoner is a classic Maiden song ║ │ │║ about an escaped convict on the run. The solos ║ │ │║ are great, and the chorus is absolutely immense. ║ │ │║ ║ │ │║ 22 Acacia Avenue: "the continuing saga of ║ │ │║ Charlotte the harlot" is a heavy, if somewhat ║ │ │║ comical song. It made the classic status that ║ │ │║ it's predecessor sadly failed to make. It starts ║ │ │║ off as a recommendation to anyone who's "feeling ║ │ │║ down depressed and lonely" and ends up as a plea ║ │ │║ to stop the life she's living. It varies a lot, ║ │ │║ and apart from the slightly amusing lyrics is an ║ │ │║ absolute gem of a song. ║ │ │║ ║ │ │║ The Number Of The Beast: The title track starts ║ │ │║ off with an ominous warning to "Earth and sea" ║ │ │║ about the coming of the beast. It starts off ║ │ │║ with an absolutely inspired guitar riff and ║ │ │║ Bruce singing eerily, then picks up the pace a ║ │ │║ bit after Bruce emits a blood curdling scream. ║ │ │║ The song that caused so much controversy amongst ║ │ │║ a particularly ignorant and idiotic group of ║ │ │║ christians in America at the time of it's ║ │ │║ release is actually based on a dream of 'Arrys, ║ │ │║ obviously the stuff about seeing shapes moving ║ │ │║ in the mist and someone watching him, in the ║ │ │║ character of the beast. The song sounds great, ║ │ │║ and has the best solo on ther album (in my ║ │ │║ opinion). The song was also released as a single ║ │ │║ and reached number 18, and had a video of the ║ │ │║ band playing live with Eddie and guys in Satan ║ │ │║ costumes on stage. ║ │ │║ ║ │ │║ Run To The Hills:Maiden's most famous song ever, ║ │ │║ and one of the best known rock songs of all ║ │ │║ time, among such classics as Sweet Child O' Mine ║ │ │║ and Smoke On The Water, this song only reached a ║ │ │║ humble (by Maiden's standards!) 7 in the charts. ║ │ │║ It has been re-released several times for the ║ │ │║ Clive Burr MS Trust Fund, and was actually the ║ │ │║ very first Maiden song I ever heard (It was the ║ │ │║ first track on Edward The Great, a best of which ║ │ │║ conveniently was released just in time for my ║ │ │║ conversion to Maiden). The video featured clips ║ │ │║ from a comedy Cowbuys and Indians movie. ║ │ │║ ║ │ │║ Gangland: Starting with a jazzy drum beat, this ║ │ │║ is maybe a bit overrated but a great song ║ │ │║ nonetheless. It captures the feelings of a ║ │ │║ gangster being hunted by his enemies. It's a ║ │ │║ good song but fairly average. ║ │ │║ ║ │ │║ Total Eclipse: Originally this couldn't be ║ │ │║ fitted on the album, and had to be made a b' ║ │ │║ side, but now it's included on the enhanced ║ │ │║ version of the album. It is a great song about ║ │ │║ an end of the world by the failure of the sun ║ │ │║ and the freezing of everything on Earth. ║ │ │║ Musically it is good, and the main riff is a bit ║ │ │║ Egyptian sounding, in a slightly different way ║ │ │║ from Powerslave. ║ │ │║ ║ │ │║ Hallowed Be Thy Name: An epic of even more epic ║ │ │║ proportions than most other Maiden epics, ║ │ │║ Hallowed Be Thy Name is about the thoughts of a ║ │ │║ man when "at 5 o' clock they take (him) to the ║ │ │║ gallows". The instrumental section near the end ║ │ │║ is, for some metal fans, complete nirvana( the ║ │ │║ Buddhist state of eternal happiness, not the ║ │ │║ grunge band). There's nothing to say except that ║ │ │║ you have to listen to it. A true masterpiece. ║ │ │║ ║ │ │║ Is it any surprise the album reached number 1??? ║ │ │║ ║ │ │║ UP THE IRONS!!! ║ │ │║ ║ │ │║ ║ │ │║ The Number of the Beast without a doubt the most ║ │ │║ famous Iron Maiden album, itÆs the album that ║ │ │║ shot them to the top of Metal back in 1982 and ║ │ │║ after, but also their most overrated album but ║ │ │║ it is still very great. ║ │ │║ ║ │ │║ As we all know this is the bands first album ║ │ │║ with Bruce and last with Clive Burr. We all know ║ │ │║ it contains the heavy metal classics ôThe Number ║ │ │║ Of the Beastö, ôRun to The Hillsö and ôHallowed ║ │ │║ be thy Nameö the latter of which kicks so much ║ │ │║ ass that you need a supercomputer to calculate ║ │ │║ how much. The rest of the songs though are still ║ │ │║ pretty damn good ôInvadersö starts the album off ║ │ │║ very fast and very strong. ôChildren of the ║ │ │║ damnedö starts as softer song with heavy bits ║ │ │║ and what a surprise, it kicks a lot of hide. ║ │ │║ ôThe Prisonerö is of course an amazing song all ║ │ │║ except the chorus, which is pretty lame and ║ │ │║ repetitive. ô22 Acadia Avenueö is flatly ║ │ │║ underrated, the guitar work done in it is ║ │ │║ amazing and the song actually stays solid even ║ │ │║ with the Charlotte the Harlot lyrics. ôGanglandö ║ │ │║ is the lowest point on this album just an ║ │ │║ average song, nothing very special or ║ │ │║ mentionable happens but not really skippable. ║ │ │║ ôTotal Eclipseö is an above average track, the ║ │ │║ song stays interesting though which puts it ║ │ │║ above Gangland. The production on this album is ║ │ │║ excellently done, everything is audible with the ║ │ │║ right instruments being accented. Number of the ║ │ │║ Beast may not be as consistent as the other Iron ║ │ │║ maiden releases but is one damned amazing piece ║ │ │║ of music none the less. ║ │ │║ ║ │ │║ Very Essential Release for any metalhead. How ║ │ │║ can you not already have this anyways? IF you ║ │ │║ donÆt go get it, itÆs so famous you can find it ║ │ │║ used CD stores, major or small music stores so ║ │ │║ get out there and get it now! ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ Number of the Beast is probably one of Maidens ║ │ │║ biggest albums. And why is that? Well it's ║ │ │║ obviously because they proved they could play ║ │ │║ without D'ianno...with Bruce Dickinson. See I, ║ │ │║ being introduced to Maiden through Piece of ║ │ │║ Mind, heard Bruce beforehand, and thus, never ║ │ │║ liked Paul...he sounds like shite compared to ║ │ │║ Bruce, and he's not too good on his own. But ║ │ │║ let's just put it this way; Paul left Maiden. ║ │ │║ Maiden were great. Bruce came into Maiden, ║ │ │║ Maiden were gods. ║ │ │║ ║ │ │║ "Invaders" opens the album quick. An aggressive ║ │ │║ song by Maiden standards, with a very weak ║ │ │║ chorus, which sadly hurts the song. The lyrics, ║ │ │║ however, are among my favorite Maiden lyrics. ║ │ │║ And the bass in the intro is stunningly complex ║ │ │║ sounding, despite the fact it's really not. The ║ │ │║ guitar solos are, as always, great. This is a ║ │ │║ fun song to play. ║ │ │║ ║ │ │║ The next up is "Children of the Damned," and may ║ │ │║ I say this is a damn good song. Metallica ║ │ │║ learned a lesson from this one, and this is ║ │ │║ apparent in Fade to Black...anyways, the lyrics ║ │ │║ deal with a movie of the same name, I believe. ║ │ │║ Very powerful and moving lyrics, and very ║ │ │║ powerful and moving music. My favorite part of ║ │ │║ this song is when it gets heavy, with the "Oh" ║ │ │║ melodies and the matching lyrical melodies that ║ │ │║ follow. The guitar solos are great as well, and ║ │ │║ the high note that ends this song shall not be ║ │ │║ taken lightly, not by my ears anyways... ║ │ │║ ║ │ │║ "The Prisoner" is the third song on this album, ║ │ │║ and though it's a bit weaker than the rest, it ║ │ │║ is still a classic. The spoken intro is actually ║ │ │║ made by the lead character of the TV show they ║ │ │║ got the concept of this song from. "The ║ │ │║ Prisoner" also has a 2nd part on Powerslave, ║ │ │║ "Back in the Village." Anyways, I really like ║ │ │║ the solo in this song. The chorus is decent, and ║ │ │║ I think it's killer live. ║ │ │║ ║ │ │║ One of NOTB's highlights is "22 Acacia Avenue." ║ │ │║ Simply put, a stunning masterpiece. A lot of ║ │ │║ time changes, a fucking INSANE main riff, and ║ │ │║ some incredible vocal melodies. Though the ║ │ │║ lyrics are rather bad by Maiden standards, the ║ │ │║ solos in this song, the various riffs, time ║ │ │║ changes, and of course the main riff...it all ║ │ │║ sounds amazingly...uh, amazing. ║ │ │║ ║ │ │║ "Number of the Beast" starts off with a ║ │ │║ memorable spoken intro that serves well to set ║ │ │║ the doom-laden mood of the song. The starting ║ │ │║ guitar riff is similar to 22, but different at ║ │ │║ the same time, and beautifully heavy in it's own ║ │ │║ way. The vocal lines are great in the beginning ║ │ │║ of the song, with Bruce getting more powerful ║ │ │║ each note. This finally explodes into a huge ║ │ │║ build-up, featuring a f'ing' amazing scream. The ║ │ │║ rest of the song is just like any other Steve ║ │ │║ Harris epic...well, semi-epic in this ║ │ │║ case...amazing. Hell, most of Maiden's stuff is ║ │ │║ amazing. The solos are great, and the dual ║ │ │║ section in between really captures the ║ │ │║ imagination. The chorus, though short, is ║ │ │║ catchy, and to the point of course. ║ │ │║ ║ │ │║ "Run to the Hills" is one of Maiden's biggest ║ │ │║ hits, and whats so strange about it is that it's ║ │ │║ one of their best tracks. It starts with an ║ │ │║ infectious drum intro, and an infectious melody ║ │ │║ played on guitar, guitar, and bass. The ║ │ │║ galloping in this song is a Maiden trademark. ║ │ │║ The chorus features some shockingly high vocals, ║ │ │║ and the end notes of the song (the rising note ║ │ │║ that starts with "Run, for your; ║ │ │║ Liiiiiiiii....") is some of Bruces highest of ║ │ │║ all time. Hard to recreate live I'd gamble. I ║ │ │║ also like the rising vocals at the end of the ║ │ │║ solo, during the build-up to the end chorus. ║ │ │║ ║ │ │║ "Gangland" features some high notes hear and ║ │ │║ there, a good chorus, good solo, and a good ║ │ │║ outro. However, it isn't very memorable, ║ │ │║ especially not compared to the next two tracks. ║ │ │║ ║ │ │║ A bonus that came with my NOTB was "Total ║ │ │║ Eclipse," a previous B-Side I believe...I know ║ │ │║ that it didn't make the final cut of NOTB, and ║ │ │║ why I don't know. The opening riff that starts ║ │ │║ the song is very similar to "Ghost of the ║ │ │║ Navigator" as well as Ozzy Osbournes "I Don't ║ │ │║ Know." This song, in my eyes, should have made ║ │ │║ it before "Gangland;" the vocals are top-notch, ║ │ │║ the lyrics are epic and deliver true feelings of ║ │ │║ fear and anguish, and the music and solos are ║ │ │║ all great. ║ │ │║ ║ │ │║ "Hallowed Be Thy Name." Wow. Possibly the ║ │ │║ greatest Maiden...nay, possibly the greatest ║ │ │║ METAL song of all-time. It has everything; a ║ │ │║ low, foreboding, doom-laden intro with low ║ │ │║ vocals and top-notch lyrics...a sweet melody ║ │ │║ line, and hell...another sweet melody line. Then ║ │ │║ it's got a sick build-up bit between the vocals, ║ │ │║ where the guitar stops and let's Bruce stand ║ │ │║ alone, above all. They lyrics are some of ║ │ │║ Harris' best, and Harris is a damn good lyricist ║ │ │║ and song-writer. The whole song is a constant ║ │ │║ build-up, even in the solos, and finally ║ │ │║ EXPLODES into the end chorus. "Yea, uh yea, uh ║ │ │║ yea! Hallowed be thy Name! Yea, uh yea, uh ║ │ │║ yea...Hallowed, be ║ │ │║ thy...NaaaaaaaAAAAAAaAaame...." The vocals in ║ │ │║ this song are held out long and stay perfect ║ │ │║ throughout, setting such a mood that is not ║ │ │║ easily recreated. The only way to experience the ║ │ │║ greatness of this song, the almost theatrical ║ │ │║ vibes, is to listen to it for yourself. ║ │ │║ ║ │ │║ NOTB is worth the money, and hell...it's worth a ║ │ │║ lot more. This is one of Maiden's many greats, ║ │ │║ and it deserves any and all encomium thrown at ║ │ │║ it. Even those who aren't metal-heads would be ║ │ │║ able to enjoy Hallowed, easily one of the ║ │ │║ greatest tracks, if not the greatest track, in ║ │ │║ music history. Up the Irons indeed. ║ │ │║ ║ │ │║ ║ │ │║ After the debut "Iron Maiden" and "Killers", ║ │ │║ they lost their singer Paul Di'Anno. Oh dear! ║ │ │║ Whoever shall replace him? Well, could it be one ║ │ │║ of the greatest singers in the history of metal? ║ │ │║ Yes! Bruce Dickinson finally joins the band and ║ │ │║ releases an album that shits all over the first ║ │ │║ 2 (which were still excellent in their own ║ │ │║ right). The instruments sound fresh and Bruce's ║ │ │║ voice sounds clean and unforced (unlike Di'Anno ║ │ │║ sometimes did). The solos on this album are ║ │ │║ nothing short of incredible and are beaten (IMO) ║ │ │║ only by the solos on "Somewhere In Time". ║ │ │║ Although this album isin't as completly orgasmic ║ │ │║ as, say, "Powerslave", it still kicks so much ║ │ │║ ass in it's own right. ║ │ │║ ║ │ │║ Invaders opens the album and it kicks right into ║ │ │║ it from the start with a cool riff. A pretty ║ │ │║ fast song. This turns out to be the typical ║ │ │║ great Maiden. The Children of the Damned is a ║ │ │║ slow, melodic ballad but still fucking rules. ║ │ │║ This beats out "Remember Tomorrow" from "Iron ║ │ │║ Maiden". The heavy chorus is especially cool. ║ │ │║ The Prisioner is somewhat different with a weird ║ │ │║ spoken intro then a drum part. It turns into ║ │ │║ another killer song though. 22 Acadia Avenue has ║ │ │║ some really nice riffs and Bruce puts on a great ║ │ │║ show. Really cool chord progression in this one. ║ │ │║ The Number of Beast. Everyone know this song, ║ │ │║ and for good reason. It is an a absolute great ║ │ │║ of a song. From the evil sounding spoken intro ║ │ │║ to the verse riff to the catchy sing along ║ │ │║ chorus. Run to the Hills is another fucking ║ │ │║ amazing song. An instantly recognizable riff ║ │ │║ that goes into which I would consider the ║ │ │║ catchiest song on the album. A true great. ║ │ │║ Gangland. What a let down. The only poor song on ║ │ │║ the album. Still half decent, nothing really ║ │ │║ special about it. And finally, we have Hallowed ║ │ │║ Be Thy Name. Yea, it's been said, but I'll say ║ │ │║ it again. "YAA MAMN FUCKAIN HALLOWED BE THY ║ │ │║ FUCKCIN NASME MAN !!!!1111". That pretty much ║ │ │║ sums it up. One of the greatest song in all of ║ │ │║ metal, and one of the best Maiden ones. Nothing ║ │ │║ short of genius. One of the greats. DO buy this ║ │ │║ album! ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ This is, as most every ... metal fan knows, Iron ║ │ │║ Maiden's third album and their first to feature ║ │ │║ their longest-running singer, the great Bruce ║ │ │║ Dickinson. Circa 1982: freshly out of his former ║ │ │║ band Samson, Dickinson would replace Maiden's ║ │ │║ original singer Paul Di'Anno ..., and would stay ║ │ │║ with the band until the mid-`90's, only to ║ │ │║ return again in 2000. ║ │ │║ Bruce Dickinson is one of metal's best singers, ║ │ │║ period. His mighty pipes carry tremendous range ║ │ │║ and power, and he can hold a note for the ║ │ │║ LONGEST time. He also throws a great performance ║ │ │║ onstage. He ranks up there with Matthew Barlow ║ │ │║ of Iced Earth, James LaBrie of Dream Theater, ║ │ │║ Michael ┼kerfeldt of Opeth, and Glenn Danzig of ║ │ │║ Danzig ... as one of the best metal singers I've ║ │ │║ ever heard. ║ │ │║ ║ │ │║ Now, for the rest of the band: Steve Harris, ║ │ │║ songwriter/backing vocalist also is one of the ║ │ │║ most talented bassists I've ever heard. He plays ║ │ │║ a standard-tuned 4-string, but good LORD, just ║ │ │║ listen to him! He creates such complex rhythms ║ │ │║ and even leads; he's like a third guitarist .... ║ │ │║ Every song he can clearly be heard under the ║ │ │║ fantastic guitar riffs and fleshing out the ║ │ │║ thick drumming. ║ │ │║ ║ │ │║ Dave Murray and Adrian Smith: what can I say ║ │ │║ about these guitarists? Where can I BEGIN? The ║ │ │║ two are a fearsome duo, slicing and dicing the ║ │ │║ listener as they alternate leads and solos with ║ │ │║ ease, creating such fast-paced riffs and ║ │ │║ crunches, it hardly matters how much or how ║ │ │║ little distortion they might use. I've practiced ║ │ │║ playing guitar for a couple of years, but lately ║ │ │║ I've been doing so a lot more thanks to them. ║ │ │║ Definitely one of the most perfect guitar duos ║ │ │║ out there, and still going strong. And now they ║ │ │║ have an additional guitarist in the mix, Janick ║ │ │║ Gers, but since he's not on this album, he won't ║ │ │║ be discussed...although he sure is good, too. I ║ │ │║ just wish they would credit who played which ║ │ │║ lead and solo in the notes! ║ │ │║ ║ │ │║ Clive Burr is a highly underrated drummer, I ║ │ │║ think. He provides really loud, well-paced ║ │ │║ beats, as well as great fills and crashes. ║ │ │║ Unfortunately he wouldn't be with the band for ║ │ │║ long, and would be gone by the PIECE OF MIND-era ║ │ │║ ..., but when he was with them, boy he was good. ║ │ │║ One of my favorite performances by him: the ║ │ │║ intro to "Gangland." ║ │ │║ ║ │ │║ The songs are all so perfect, I will go through ║ │ │║ each one individually. ║ │ │║ ║ │ │║ "Invaders" is a fast-paced, attention-getting ║ │ │║ opener. It tells the tale of a Viking invasion ║ │ │║ upon a Nordic village, I think. The drums ║ │ │║ thunder like a thousand running feet, the bass ║ │ │║ and guitars like cries of fear and fury. And ║ │ │║ Bruce Dickinson...it's easy to see why many ║ │ │║ called him "Air-Raid Siren." ║ │ │║ ║ │ │║ "Children of the Damned," I'm not so sure what ║ │ │║ this one's about. It starts off kind of slow and ║ │ │║ has great guitar work from Smith and Murray, and ║ │ │║ slowly gets more up-beat, but then in the bridge ║ │ │║ of the song...VROOOOM! It just takes off at an ║ │ │║ ultra-high pace and knocks the listener off ║ │ │║ their feet .... ║ │ │║ ║ │ │║ "The Prisoner" has a little sample from the ║ │ │║ sci-fi sitcom of the same name, then breaks into ║ │ │║ a mid-tempo beat that is simply infectious for ║ │ │║ foot-tapping. Then it speeds up so suddenly and ║ │ │║ without warning, with a sweeping, powerful ║ │ │║ instrumental thrust. Dickinson snarls and barks ║ │ │║ out the tale of a man in prison who has one ║ │ │║ thing in mind: getting out. Very catchy chorus, ║ │ │║ too. And remember what I was saying about Harris ║ │ │║ being a complex bassist? Just listen to the ║ │ │║ leads he makes in the pre-chorus: CRAZY! ║ │ │║ ║ │ │║ "22 Acacia Avenue," another faced-paced track, ║ │ │║ is a fable of a prostitution house and how truly ║ │ │║ insane and upside-down one could be. While the ║ │ │║ song is excellent and I could be stuck on a ║ │ │║ deserted island with it, it is probably one of ║ │ │║ my lesser-favorites. ║ │ │║ ║ │ │║ "The Number of the Beast"..., the source for ║ │ │║ many a parent's apprehensions that their kids ║ │ │║ are listening to bad music. A streamlined and ║ │ │║ fast-paced tale of a man's encounter with an ║ │ │║ unholy cult performing a Satanic ritual, yes - ║ │ │║ but by no means promoting Satanism; rather, this ║ │ │║ takes a fearful outlook upon such practices, as ║ │ │║ the narrator within the song is trying to get ║ │ │║ away...but ultimately, unsuccessfully. After an ║ │ │║ eerie intro by the late Vincent Price, the ║ │ │║ atmospheric guitar riffs kick in, with ║ │ │║ Dickinson's worried-sounding vocals coming in ║ │ │║ with a now-classic opening line: "I left ║ │ │║ alone...my mind was blank..." The solos in the ║ │ │║ bridge of the song dazzle, and the little gap ║ │ │║ between them is amazing in itself as the pace ║ │ │║ slows down, then picks up again for a huge ║ │ │║ "shebang!" Parents may still want their kids to ║ │ │║ avoid a song that has "666" in the chorus, but ║ │ │║ regardless, this is one of Maiden's best. ║ │ │║ ║ │ │║ "Run to the Hills" is very similar to "Invaders" ║ │ │║ in plot, but this time tells the story of the ║ │ │║ white settlers that came to this land we now ║ │ │║ call America, and as they mercilessly hunted ║ │ │║ down and slew the natives. The beginning drum ║ │ │║ beats lead into a great trio of guitars and ║ │ │║ bass, and then Dickinson comes in with his ║ │ │║ furied snarls. Then, like many Maiden songs, the ║ │ │║ song suddenly picks up pace and fires off into a ║ │ │║ blistering, galloping juggernaut. ║ │ │║ ║ │ │║ "Gangland" is yet another uptempo piece, this ║ │ │║ time focusing on living in the more ghetto side ║ │ │║ of town, and the fears of going outside, for the ║ │ │║ gangs might get you. Rather violent and ║ │ │║ up-in-your-face lyrics, too. Like "22 Acacia ║ │ │║ Avenue," one of my lesser favorites, but still a ║ │ │║ masterpiece. ║ │ │║ ║ │ │║ "Total Eclipse" is a prophetic tale of nature ║ │ │║ taking revenge upon mankind for our decades of ║ │ │║ causing such damage to her. It starts off with ║ │ │║ mid-tempo, fairly heavy riffs that are like ║ │ │║ thunder in the sky, and then builds up the pace ║ │ │║ a little. Dickinson's vocals are at their most ║ │ │║ furious here, I think. ║ │ │║ ║ │ │║ And then there's "Hallowed Be Thy Name," the ║ │ │║ ultimate masterpiece on this album. Clocking in ║ │ │║ at over 7 minutes, this is the tale of a man's ║ │ │║ final hours as he is on death row and waiting ║ │ │║ for his time. The imagery and emotions FEEL so ║ │ │║ real. This one starts off with a bell chiming ║ │ │║ ..., and then the song picks up pace a bit, ║ │ │║ building to climatic verses where Dickinson's ║ │ │║ solo vocals alternate with blasts of ║ │ │║ instrumentation. The massive bridge is ║ │ │║ breathtaking with its powerful time changes and ║ │ │║ solos...and with the subject matter, this song ║ │ │║ is an excellent choice for an album closer. ║ │ │║ ║ │ │║ As well, this 1998 remaster/reissue is very ║ │ │║ good. The notes are packed with information ║ │ │║ about the era and the recording/touring of this ║ │ │║ album, and the sound is pristine. ║ │ │║ ║ │ │║ So there it is: Iron Maiden's 1982 album, the ║ │ │║ first to feature Bruce Dickinson, and where they ║ │ │║ achieved perfection. The band has had many, many ║ │ │║ other good songs on other albums, and this one ║ │ │║ isn't even their best - but it is, without a ║ │ │║ doubt one of them, and certainly one of the most ║ │ │║ important albums in the history of heavy metal. ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │║ It's very distressing to see modern metalheads ║ │ │║ obsessing over all this new metalcore that ║ │ │║ plagues our world and gives metal a bad name and ║ │ │║ not even knowing who Iron Maiden is. While the ║ │ │║ title of "Fathers of Heavy Metal" belong to ║ │ │║ bands like Led Zeppelin and Black Sabbath, Iron ║ │ │║ Maiden is definitely in the top 5 metal bands to ║ │ │║ ever grace the earth. How can anyone deny the ║ │ │║ pure talent that this band shows and then go to ║ │ │║ Trivium concerts thinking that they're the ║ │ │║ greatest band that ever lived? Iron Maiden is ║ │ │║ definitely one of the reasons those bands even ║ │ │║ exist, I know for sure, because Iron Maiden ║ │ │║ still remains one of the most influential metal ║ │ │║ bands in the music industry. ║ │ │║ ║ │ │║ Now that I've got that off my chest, let's break ║ │ │║ the whole into pieces and analyze each of the ║ │ │║ band members. First of all, there's everyone's ║ │ │║ favorite metal vocalist Bruce Dickinson, also ║ │ │║ known as "The Air Raid Siren of Heavy Metal" for ║ │ │║ his operatic singing style and incredible range. ║ │ │║ Bruce can comfortably switching from an angry ║ │ │║ growl (Metallica-style, not death metal) to a ║ │ │║ high-pitched shrieking without missing a beat. ║ │ │║ Next up we have Dave Murray and Adrian Smith, ║ │ │║ who provide some very compelling guitar riffs ║ │ │║ and beautiful, focused solos that match ║ │ │║ perfectly with the individual feel of every ║ │ │║ song. These two undeniably belong on a list of ║ │ │║ metal's greatest guitarists. After them is ║ │ │║ bassist and founding member Steve Harris, who ║ │ │║ has remained loyal to the band since its ║ │ │║ founding in 1975. He is, without a shadow of a ║ │ │║ doubt, metal's greatest bass guitar player. Not ║ │ │║ only does he provide a subtle atmosphere for the ║ │ │║ album's intense, anthemic feel, he plays the ║ │ │║ bass as if it is meant to be a lead instrument, ║ │ │║ playing marvelous riffs and holding it all ║ │ │║ together. And last but not least is drummer ║ │ │║ Clive Burr, whose drumming is sorely missed on ║ │ │║ later albums (even though his replacement, Nicko ║ │ │║ McBrain, is arguably their best drummer in the ║ │ │║ long run), as he introduced several songs with ║ │ │║ addictive drum solos and keeps a fine beat going ║ │ │║ for every song. ║ │ │║ ║ │ │║ Overall, this album is a milestone in metal, ║ │ │║ marking the introduction of Bruce Dickinson to ║ │ │║ the world of mainstream metal and being Iron ║ │ │║ Maiden's first straightforward metal album (the ║ │ │║ first two album also included elements of punk). ║ │ │║ Without this album, so many metal bands would ║ │ │║ not have existed in the form they do today, ║ │ │║ including many sub-par metalcore bands, I'm ║ │ │║ sorry to say. But whether directly or ║ │ │║ indirectly, Iron Maiden is one of the top ║ │ │║ influences in today's metal scene, and there is ║ │ │║ no way you can deny that. ║ │ │║ ║ │ │║ ║ │ │║ ║ │ │╚════════════════════════════════════════════════════════════════╝ │ │ │ │ │ │ │ │╔═════════════════════╗ │ │║ Release Tracklist ║ │ │╚═════════════════════╩══════════════════════════════════════════ │ │ │ │ - cd1 [ ] │ │ - [ ] │ │ 01 - Invaders [03:24] │ │ 02 - Children Of The Damned [04:35] │ │ 03 - The Prisoner [06:02] │ │ 04 - 22 Acacia Avenue [06:36] │ │ 05 - The Number Of The Beast [04:50] │ │ 06 - Run To The Hills [03:53] │ │ 07 - Gangland [03:49] │ │ 08 - Hallowed Be Thy Name [07:11] │ │ - [ ] │ │ - cd2 [ ] │ │ - [ ] │ │ 01 - Total Eclipse [04:30] │ │ 02 - Remember Tomorrow ( Live ) [05:27] │ │ │ │ Total Length : [50:17 minn │ │ │ │ │ │ ▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄ │ │ │ │ │ │ │ │ ╔═════════════════════╗ │ │ ║ Greetings To: ║ │ │ ╚═════════════════════╝ │ │ │ │ Too all people who contributes to make this │ │ archive of good music in a exceptional conditions │ │ │ │ │ │ │ │■ ■│ └───────────────────────────────────────────────────────────────────┘